Fluhffa

I’m a games Dev student who likes writing in her spare time!

[oodlesoasis]

Trevor can either choose peace or violence

[daydream-corpse]

turble

[cetrouz]

angela in a suit

sorry i wanted to draw something self indulgent

[vcroweblr]

pathetic failguy spotted. bring in the drones

[octopus-in-disguise]

Emily Garland is bitter. She had a chance at freedom and she traded it away for the comfort of a gilded cage. She’s trapped within the confines of the persona she’s created for herself, and I think on some level she knows that most if not all of the joy brought on by her success as Vivian Walton is purely artificial. She and the rest of the six wanted the power to decide their own lives, but in the end she wound up performing for the cameras all over again—except for this time it was her own choices that put her there.

She’s trapped and unhappy—and yeah, I think the whole Trevor thing was definitely a ploy to improve the ratings, but I also think it was Emily trying to prove to herself that the choices she made after escaping Arcadia were inevitable: that it was impossible not to wind up in her position. That it’s not her fault she’s trapped as the face of the corporation that once exploited her. She puts this guy through hell, manipulates him and taunts him and wears down his resolve, and then she makes him pretty much the same offer Walton Media did to her all those years ago. And he’d be insane not to accept, right? Because Emily did everything right when it was her in this situation; there’s no other way this could possibly end.

I think Trevor rejecting her and leaving to live a happy, successful life outside Arcadia is the biggest slap in the face Emily could’ve received. He did what she couldn’t. It sends her into a spiral of what-ifs; if she’d had a friend on the outside, or a stronger conviction, or maybe even if she’d stayed closer with the rest of the six, would she still be stuck performing for the American Arcadia audiences? But I think ultimately it proves that she took the easy way out, that yeah the outside world is harsh and frightening, but there’s absolutely a life waiting out there for anyone willing to reach for it.

Vivian thought she had it all figured out and she got proved wrong by an account manager and one of her own stage technicians. Tbh I think she’s the most tragic character in AA.

[captmickey]

Something about Trevor playing with a sparkler for New Years tickles me.

[fluhffa]

First off, Happy new year everyone! Goes to show how obsessed I am with AA to have been thinking about it on new years, in the middle of my celebrations, but here we are.

Anyway, I was thinking of what New years might be like for Trevor in the real world for the first time. To have spent the first 28 years of his life celebrating each year from the 60’s through to the 70’s, to then hearing everyone saying ‘Happy 2024’ must be incredibly jarring. It must feel, in a way, that he’s missed out on so much. I suppose it would be one of the many things he’d have a hard time adjusting to.

On top of that, I wonder if he’s ever seen fireworks before? Sure, the dome is massive, but I wouldn’t be surprised if they don’t allow fireworks. Can’t exactly send explosions into the sky if the sky has a roof, right? So now I really wanna draw Trevor seeing fireworks for the first time. Since he found out all of Arcadia’s lies and the ugly truths of our world, he probably hasn’t had a very positive view of the world, so to then experience the joy of watching a firework display would be like a spark of hope and happiness, and seeing how people spread that to others must be a world away from the mundane life he led before.

[packet-of-staples]

Heyyyy Its everyones favourite fugitive!! I wanted to mess around with lighting in this new style.

Also uh that hidden one really does a number on the eyes so I’ll put it under the cut. Along with some close ups!

Jingle moment!!!

[packet-of-staples]

Im posting the wip for this incase I dont have the energy to finish it after this other thing I started drawing.

[fluhffa]

American Arcadia Spoilers Below!

Just wanted to share a couple of interesting Easter eggs I saw in a play through that I haven’t seen anywhere else:

When Angela enters the realignment area, there is a corridor with shutters on the windows - and a hexagon level button. If you try to press it, number six/Vivian will repeatedly try to convince you NOT to press it, but if you persist, Angela does it anyway and the shutters open, revealing that the Jingle is being fed to Arcadian citizens as babies, so there’s yet another lie from Vivian when she told Trevor that he was ‘born with it’. (Though I suppose we already knew that)

Also, a slightly more light-hearted secret; when Trevor is going through the re-alignment process, you can still enter the camera mode, where you can see Trevor in the car tripping out

[packet-of-staples]

Expect a lot of silly little doodles like these because Im crazy. I will never get over how post arcadia Trevor just looks like my dad Im-

DO NOT SEPERATE THEM!!

[justtrashperson]

More Trevor hills for the soul

[fluhffa]

smiling and giggling and kicking my feet about an average lil guy, a lil scrimply blorbo, a regular shy lil man who loves his turtle and is put in various situations, American Arcadia deserves WAY more attention than it’s got I will not stop preaching about this fun lil guy escaping a TV show with multiple references to pop culture and Disney and an amazing meta commentary, I may or may not be obsessed

[fluhffa]

Me: God no I don’t want kids. They’re so annoying.

Also me seeing kids in video games: OMG ❤️❤️🥰🥰😍😍🥺🥺 baby 🥰🥰😍😍😍🥺🥺❤️❤️❤️ I will protect you!!!! ❤️❤️❤️🥰🥰🥰😭😭😭

[fluhffa]

Since apparently original experiences do not exist, did anyone else read multiple books at once and combine the stories into one? Like just picking out scenes and making up your own story? Cos that was definitely my writer awakening.

[lifeofbrybooks]

The thing about writing is we’re taught to write in a very specific way as children that is deemed as the “correct” way. And it’s so important to have those fundamentals — to know how sentences are constructed and what is proper paragraph structure and to become familiar with grammar. Those are essential building blocks.

But because schools have to focus on essay writing and technicalities and whatever is needed for the latest standardized test, it’s often the only way we learn how to write when there’s so many ways to write. There’s technical writing, journalistic writing but also editorial writing, copywriting, letter writing, free writing … to infinity and beyond.

We often don’t explore creative writing in an academic setting until later in life when we seek it out (or never at all in most cases). And while there’s guides for these looser types of writing, as well, it’s important to know you can just say FUCK ALL and bastardize the rules that were beat into your brain by red pens all your life.

Make up words. A paragraph can be one sentence, one word, or a whole damn monologue. Run-on sentences can be a style choice. Make a chapter one line. Use capitalization however you see fit. Start sentences with conjunctions. Be abstract in imagery. Forget commas exist and keep using ‘and’ instead (<- my favorite). Fragments can be fire. Create your own voice in the remnants of a burned language.

Learning the rules also means knowing how and when to break them. So break them to tell your story the way you want.

[holywyrm]

A recipe for finding your story's plot:

Ingredients:

2 cups of Things that must be in the story (this can be characters, specific scenes, settings, subplots etc.)

1 cup of Vague plot ideas I may not use

1 tbsp of Central Themes

1 tsp of Ending (either happy, tragic, or bitter-sweet)

1 tsp of Protagonist's Primary Motivation

2 lbs of Brick Wall

Time, as needed

Instructions:

In a large bowl, mix Things that must be in the story. Set aside.

In a separate bowl, sift together Vague plot ideas I may not use. Discard the excess and set aside.

Add Themes, Ending, and Motivation to a small jar. Screw lid on tight and shake until mixture becomes Conflict.

Pour Conflict and Vague plot ideas into Things that must be in the story. Blend on medium until Plot Points form.

Taste.

If it is still missing something, smash head against 1 lbs of Brick Wall for one to six hours.

Let marinate for one to 365 days. Add more Things and Vague plot ideas as desired.

Smash head against the rest of the Brick Wall for one to six hours.

Scream.

Repeat steps 5 through 9 as needed.

After sufficient marination, the mixture will form an idea. This will tell you what specific action must happen in order to resolve your story's conflict. Write this down and make appropriate sacrifices to thank whichever deity took pity on you.

Now you have your conflict, climax, and resolution. You just have to figure out how to get there. Good luck with the damn middle section dork!!